Fall Line Press has just released a new monograph of photographs by Jack Carnell. The book, aptly titled, True Places is a collection of well-seen details, small moments, and well, true places seen in the American South. Created in 2005, from the perspective of a Northerner delighting in the unique Southern intricacies and quirks that make up small town and suburban living, the book includes 51 color images and 3 essays, by Spence Kass, Nataniel Popkin and Wendy Brenner.

Hannah Starkey knew she was pushing back against expectations when she unveiled a collection of seven images — large, color, constructed photographs exclusively depicting women — at her Royal College of Art graduation exhibition in 1997.

The photo team at The New Yorker assigned more breaking-news commissions this year than ever before. In October, the photojournalist Adriana Zehbrauskas accompanied the staff writer Jonathan Blitzer on a weeklong trip to follow the migrant caravan as it moved north through Mexico. During the midterms, the political photographer Mark Peterson captured, in one powerful image, the Florida gubernatorial candidate Andrew Gillum in a voting booth with two of his small children standing by. And, after receiving a phone call from our director of photography late one evening in September, the photographer Benjamin Rasmussen woke up before dawn to take a portrait of Deborah Ramirez, who had told Ronan Farrow and Jane Mayer of a college encounter with the Supreme Court Justice Brett Kavanaugh. Standing alone in the morning light, Ramirez exuded both quiet resilience and resignation, a poignant moment of calm in the midst a chaotic and anguished nomination process.

Go to Become Is a fictional record inspired by Lycanthropy telltales that take Barcelona night-club scene as the main stage, where for its clubbers, the use of alcohol, psychoactive substances and the beats of techno, are a way to achieve a basic state of being in which people is lead by their innermost instincts, like Werewolves.

My project, Freezing Land, aims to explore descendants of immigrants living in the northeast. Meanwhile, Chinese President Xi Jinping started a campaign called the “Chinese Dream”. But what does this mean to the the once prosperous land? What’s the story of today’s northeastern China?

I first encountered Kalen Goodluck’s work on the website Natives Photograph which features work from a range of indigenous visual journalists. Goodluck focuses on a variety of subjects in his practice, but two series — Contrails of a Fevered Dream and Fort Berthold — look at specifically at issues and places in the Fort Berthold reservation in northwestern North Dakota. In both collections Goodluck photographs in analog black and white and examines the changing conditions in the reservation as a result of natural resource development. In his Contrails series, for example, Goodluck uses infrared film to interpret the rural landscape as a dynamic entity, and as a witness to a history of nefarious activity on the land. His second series, Fort Berthold, looks at neighborhoods, community spaces and his family’s home in the reservation.

Old ways of life are disappearing from Cespedosa de Tormes in western Spain, but Juan Manuel Castro Prieto wants to preserve the threads that join him to his ancestral village.

North Dakota is one of the least densely-populated states in the country with an average of eleven people for every square mile. Most of the population resides on the state’s eastern border with Minnesota, and few of these residents or visitors to the state venture out into the rest of the state which is marked with small communities and stark landscapes of open horizons. Lewis Ableidinger comes from one of these small towns — Kensal, North Dakota — and explores themes related to the challenges and joys of living in the state’s rural areas. His most recent series, Flyover Country, delves into these themes while challenging prevailing stereotypes about the region as a whole. In this project Ableidinger brings together a mix of portraits, landscapes, and interior shots that represent both the vibrancy and warmth within small Midwestern communities, as well as issues leading — in some cases — to their decline. Ableinger treats these issue with sensitivity, however, and balances photographs that reference downturn of rural towns with images of residents at work, active downtowns, and the spare beauty of the open landscapes that surround the communities. Ableidinger balances his photography with his work as a locomotive engineer on Canadian Pacific Railway, a position that immerses him into an array of Northern Plains landscapes and further deepens his knowledge of and perspective into the state’s environments.